A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed… — Gerhard Richter Copy Share Image
The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely… — Gerhard Richter Copy Share Image
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely… — Gerhard Richter Copy Share Image
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the… — Gerhard Richter Copy Share Image
When I paint from a photograph, conscious thinking is eliminated. I don't know what I am doing. My work is far closer… — Gerhard Richter Copy Share Image
But my motivation was more a matter of wanting to create order - to keep track of things. All those boxes full… — Gerhard Richter Copy Share Image
When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know… — Gerhard Richter Copy Share Image
The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style. Both… — Gerhard Richter Copy Share Image
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean… — Gerhard Richter Copy Share Image
Only about one per cent of my paintings show family members. Do they help me deal with problems? It's likely that these… — Gerhard Richter Copy Share Image
... landscapes or still-lifes I paint in between the abstract works; they constitute about one-tenth of my production. On the one hand… — Gerhard Richter Copy Share Image
I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not… — Gerhard Richter Copy Share Image
Grey. It makes no statement whatever; it evokes neither feelings nor associations: it is really neither visible nor invisible. Its inconspicuousness gives… — Gerhard Richter Copy Share Image
And then the work bears a strong sense of leave-taking for me personally. It ends the work I began in the 1960s… — Gerhard Richter Copy Share Image
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the… — Gerhard Richter Copy Share Image
Art shows us how to see things that are constructive and good, and to be an active part of that. — Gerhard Richter Copy Share Image
They are specific places I have discovered here and there when I am on the road to take photos. I go especially to take… — Gerhard Richter Copy Share Image
To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and… — Gerhard Richter Copy Share Image
Now that we do not have priests and philosophers any more, artists are the most important people in the world. — Gerhard Richter Copy Share Image
Yes, we were amazed when that happened. It was a real joke to us. Konrad Lueg and I did a Happening, and we used… — Gerhard Richter Copy Share Image
A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed the greater… — Gerhard Richter Copy Share Image
The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely be identified.… — Gerhard Richter Copy Share Image
Perhaps the choice is a negative one, in that I was trying to avoid everything that touched on well-known issues - or any issues… — Gerhard Richter Copy Share Image
Gray is the color... the most important of all... absent of opinion, nothing, neither/nor. — Gerhard Richter Copy Share Image
You can compare it to dreams: you have a very specific and individual pictorial language that you either accept or that you can translate… — Gerhard Richter Copy Share Image
What attracted me about my mirrors was the idea of having nothing manipulated in them. A piece of bought mirror. Just hung there, without… — Gerhard Richter Copy Share Image
